B I O H A Z A R D
by Stanley Olan
Summary: My vision of the movie. The action craze was played down to flesh out the claustrophobic, gothic touches. The events follow the first game in the series.
1. PART 1

FADE IN:  
  
EXT. FOREST - MANSION - NIGHT  
  
SUPER the legend: "ARKLAY MOUNTAINS, OUTSKIRTS OF RACCOON CITY, COLORADO. MAY 11, 10:45 P.M."  
  
Large and ominous looking with half of the windows ablaze, the mansion is surrounded by a dense forest and is bathed in eerie moonlight.  
  
The mansion and its large front yard are contained behind tall, sturdy looking iron gates. A sign in fancy letters is curved out of metal on it: SPENCER ESTATE.  
  
CUT TO:  
  
INT. LABORATORY - LOBBY - NIGHT  
  
Everything is colored white. Generic windows are spread around the walls. There is no view behind them, just offices and meeting rooms. Huge double doors are at the back.  
  
People in lab coats and business suits are walking back and forth, carrying briefcases and manilla folders.  
  
AN ELEVATOR, next to the reception desk opens and A MAN in a business suit enters. He is middle aged and his name is JOHN CARSON  
  
John walks past A FEMALE RECEPTIONIST.  
  
RECEPTIONIST  
  
Good morning, Doctor Carson.  
  
JOHN  
  
Hello, Sandy. Tell the  
  
staff not to expect me  
  
at dinner. I shall be  
  
in my office, catching  
  
up on my work.  
  
RECEPTIONIST  
  
Certainly.  
  
John nods and continues on his way.  
  
CUT TO:  
  
INT. MANSION - DINING ROOM - NIGHT  
  
Extremely long, with a gigantic balcony that circles the the entire room at the top. The décor is done in a marriage, of sorts, of medieval and victorian styles, complete with a fireplace, elaborate paintings and an ancient grandfather clock. Dark forest can be seen through the large windows.  
  
A GROUP OF ABOUT SEVENTY PEOPLE, all dressed semi casually, are sitting around a long, fancy table dining on gourmet food from expensive silverware.  
  
FIVE MEN DRESSED AS BUTLERS are walking around the diners, placing oysters and crackers with caviar from silver trays to the people's plates.  
  
CUT TO:  
  
INT. LABORATORY - OFFICE  
  
Another white room. It does not look like a typical office. It is filled with unknown gadgets and vials with suspicious green gel.  
  
John is sitting behind a table with an ultra modern computer, talking on the phone. All the while he is looking at a framed picture of him hugging A BEAUTIFUL ASIAN WOMAN, in her MID-TWENTIES.  
  
JOHN  
  
Ada, I know I promised to  
  
be back tonight, but I can't.  
  
We took a few blood samples  
  
from her and the Ebola  
  
concentration is too high.  
  
What? No. Yes... Sure. Listen,  
  
I'll get home in two weeks and  
  
we'll sort it out then. Now---  
  
The automatic door slides open and SOMEONE enters.  
  
JOHN  
  
(surprised)  
  
What the?!  
  
(back into the phone)  
  
Listen, Ada. I'll call you  
  
back in a few minutes.  
  
(he hangs up)  
  
What are you doing here?  
  
You---  
  
Before he has a chance to finish the sentence, the person zaps him with a taser.  
  
John, with his eyes wide open from shock, falls from the chair, knocking over the picture. As he lays on the floor, violent convulsions overwhelm him.  
  
The assailant turns his attention to a glass case full of vials with green gel.  
  
The assailant sees a safety mask lying on a table. He quickly puts it on.  
  
Then, he smashes the glass case with the butt of the stun gun. With vials broken, the green gel begins to ooze on the floor.  
  
The assailant quickly exits the room, as John lies on the ground, convulsing.  
  
JOHN  
  
(delirious)  
  
Ada... Ada...  
  
CUT TO:  
  
INT. LABORATORY - HALLWAY  
  
Everyone goes around their business.  
  
A WOMAN approaches A MAN.  
  
WOMAN  
  
Do you smell something?  
  
MAN  
  
What do you mean?  
  
DISGUSTED EXCLAMATIONS are heard. ANOTHER MAN pushes his way passed the crowd of onlookers. He is very pale and is scratching himself everywhere.  
  
The Scratching Man approaches The Woman.  
  
SCRATCHING MAN  
  
Help... Please... The itch...  
  
The Scratching Man begins retching. He is vomiting blood and puss.  
  
MAN  
  
My god, it's the T-Virus!!  
  
All at once, the lights fade. People begin to scream. Then, the lights come on again, only red this time.  
  
FEMALE COMPUTER VOICE  
  
(o.s.)  
  
Warning. Biohazard contamination  
  
detected. Emergency Lever... A.  
  
WOMAN 2  
  
My arms!!  
  
She begins to scratch her arms. Other do that as well. Some begin to crouch, others vomit blood.  
  
CUT TO:  
  
INT. MANSION - DINING ROOM - NIGHT  
  
The lights here are red as well. The diners stand up in confusion. The butlers drop their trays in confusion.  
  
FEMALE COMPUTER VOICE  
  
(o.s.)  
  
Automatic lock system has  
  
been confirmed. All doors  
  
will be locked for...  
  
Fourteen Days... For  
  
quarantine purposes.  
  
A CLICKING sound is heard.  
  
Two men run to the double doors at the back. Man 1 tries the lock.  
  
MAN 1  
  
I can't open it!  
  
Man 2  
  
What is happening?  
  
A Butler tries a door on the side of the wall by the fireplace.  
  
BUTLER  
  
Locked as well!!  
  
WOMAN  
  
No... This can't be...  
  
People start to panic. They run amok, spilling food on the floor and throwing dishes off the table. Then, they begin scratching, coughing and vomiting blood and pus.  
  
The Woman that spoke to the Butler stands out from the rest. She is not in panic, except that she is terrified. She backs away, shaking.  
  
A man crawls up to her caked with his own vomit and puss He is coughing blood.  
  
MAN  
  
Help... Me... It hurts...  
  
So itchy...  
  
His blood stained hand grabs her dress. The Woman SCREAMS in terror.  
  
CUT TO:  
  
EXT. FOREST - MANSION - NIGHT.  
  
As The Woman's scream echoes through the dark woods, the mansion's lights dim and go out, leaving it looking dark, foreboding, and pretty much dead. 


	2. PART 2

EXT. RACCOON CITY - DAY  
  
SUPER the legend: "RACCOON CITY, COLORADO. 2 MONTHS LATER.  
  
A stereotypical, all American town with cute little houses, green trees and and a few skyscrapers sticking out in the middle. Big mountains can be seen in the background.  
  
CUT TO:  
  
INSERT - OFFICE TABLE  
  
A tabloid newspaper drops from onto the table's smooth surface. The front headline sticks out like a sore thumb: CANNIBALISTIC CULT DISCOVERED OUT IN THE OUTSKIRTS OF RACCOON CITY.  
  
Another tabloid newspaper drops on top of the other one. The headline reads: HORROR IN RACCOON! MORE VICTIMS ARE DEAD! (A CANNIBALISTIC OCCULT MAY BE TO BLAME.)  
  
WOMAN  
  
(o.s.)  
  
What. The. Fuck.  
  
CUT TO:  
  
INT. POLICE DEPARTMENT - OFFICE - DAY  
  
JILL VALENTINE, in her early twenties and very beautiful, stands in front of a table, very angry. She is wearing a uniform, which is a cross between a police one and a military one. It has an ensign on the sleeve consisting of three stars and S.T.A.R.S. Written below.  
  
Sitting behind the table, with his feet on it, is ALBERT WESKER. He is in his late thirties, well tanned and has a mysterious smirk on his face. He is also wearing a S.T.A.R.S. Uniform and never takes off his dark sunglasses.  
  
JILL  
  
How did this information  
  
leak out?  
  
Wesker lowers his feet to the ground and picks up the newspapers. He looks at them for a second, then throws them into the trash bin.  
  
WESKER  
  
What's wrong with it?  
  
JILL  
  
I think you should rephrase  
  
that question. What is not  
  
wrong with that article! All  
  
the information is completely  
  
exaggerated and taken out of  
  
context.  
  
WESKER  
  
The press was getting  
  
restless and Chief Irons  
  
told me to give them  
  
something to gnaw on.  
  
JILL  
  
Wesker, they should amputate  
  
your tongue. You gave them  
  
too much information! And  
  
some of it is not even one  
  
hundred percent positive.  
  
WESKER  
  
Hey, I only told them the  
  
working theories, okay? I  
  
can't be held accountable  
  
if a few tabloid magazines  
  
exaggerated minor details.  
  
JILL  
  
Does Enrico know about this?  
  
WESKER  
  
Why should he?  
  
JILL  
  
He is also in command.  
  
WESKER  
  
Second in command, mind  
  
you. I am the captain of  
  
the S.T.A.R.S.  
  
JILL  
  
Well, he will know now.  
  
Jill storms out of the office, as Wesker grins.  
  
CUT TO:  
  
INT. POLICE DEPARTMENT - DAY  
  
Jill is rushing down the empty hall, when A HAND grabs her.  
  
Jill gasps, turns around and her look of surprise is replaced with a look of annoyance.  
  
JILL  
  
Oh, Chris, it is you.  
  
CHRIS REDFIELD, lean muscular, handsome is the one who is holding Jill. He is also wearing a S.T.A.R.S. Uniform.   
  
CHRIS  
  
(releasing Jill's arm)  
  
You seem in a hurry.  
  
JILL  
  
It's just that Wesker and  
  
Irons blabbered to everyone  
  
about the Arklay Murders.  
  
"TOP SECRET," my ass!  
  
CHRIS  
  
Yeah, about that. I overheard  
  
Enrico saying the Bravos are  
  
going in first. Tonight.  
  
JILL  
  
They are sending the Bravo  
  
team first?!  
  
CHRIS  
  
As far as I know.  
  
JILL  
  
Dammit, the press is gonna  
  
have a field day. These  
  
are the most violent and  
  
mysterious serial killings  
  
Raccoon City has seen in  
  
years, and we are sending  
  
in a S.T.A.R.S. Unit that  
  
consists mostly of rookies.  
  
Just awesome, ain't it?  
  
CHRIS  
  
What I am really worried  
  
about is that girl,  
  
Chambers is her name, I  
  
think.  
  
JILL  
  
Chambers... Chambers...  
  
Isn't she that eighteen  
  
year old child genius  
  
we got from a college  
  
intern program?  
  
CHRIS  
  
Yeah. The only safe job  
  
we had for her was a  
  
medic. So...  
  
JILL  
  
(semi jokingly)  
  
That's not fair. How come the  
  
Bravos get the doctors?  
  
CHRIS  
  
Hey, you should be proud.  
  
They thought so highly  
  
of the Alphas, that they  
  
considered us in no need  
  
of a doctor.  
  
JILL  
  
Yeah, whatever. In any  
  
case, the briefing is  
  
in ten minutes. We better  
  
get cracking.  
  
They exit together down the hall.  
  
CUT TO:  
  
INT. POLICE DEPARTMENT - BRIEFING ROOM - DAY  
  
All of the S.T.A.R.S. Memebers are gathered in the room. They are as follows, BARRY BURTON, A muscular giant of a man, with a funny looking red beard and hair. REBECCA CHAMBERS, barely eighteen. Her uniform is slightly different than the rest. It has lighter color, not as complicated and a giant red cross is on the back. Rebecca has a nervous look in her face, otherwise, she you your typical, attractive girl-next-door. RICHARD AIKIN, in his late twenties, muscular, with a receding hairline. FOREST SPYER, Same age as Chris, is Native American, with some tatoos, consisting mostly of naked women. His long hair are tied in a knot. There is KENNETH SULLIVAN, late forties, just as musculat as Barry, bald and the only African-American in the group. There are three more men. BRAD VIKERS, early thirties and with an extremely cowardly and nervous face. EDWARD DEWEY, in his mid-twenties, just as muscular as Barry, but taller. The last is KEVIN DOOLEY, somewhere in his late-thirties, and also built fairly well.  
  
All of them, including Jill and Chris, are spread around the room, sitting behind college classroom-like desks.  
  
Wesker is standing by a tribune, boasting the logo of Raccoon City Police Department. He is holding a remote, which is helping flip slides from a projecter.  
  
Standing next to him is ENRICO MARINI, Hispanic and in his late forties.  
  
The room is dark. The only light is tha coming from the projector.  
  
WESKER  
  
So far, the murders have  
  
only occured at one area.  
  
Around Victory Lake.  
  
A picture comes on the white screen behind him. It is a map, showing greenery and a big, blue spot in the middle.  
  
WESKER(CONT.)  
  
The mission is to search  
  
the area, perticulary the  
  
old, abandoned mansion,  
  
located in the very heart  
  
of that part of the woods.  
  
Brad raises his hand.  
  
WESKER(CONT.)  
  
Yes?  
  
BRAD  
  
Mansion?  
  
ENRICO  
  
I'll take that.  
  
Wesker gives Enrico the remote and steps fown from the tribune, with Enrico taking his place.  
  
Enrico clicks the remote and the the previous image is replaced by an old, black & white photogrpaph of a GIGANTIC, THREE-STORY MANSION.  
  
ENRICO  
  
The Spencer Mansion was  
  
constructed in 1967 by  
  
George Trevor, one of  
  
the most famous architects  
  
in American history.  
  
Enrico clicks on the remote again and a black & white photogrpaph of a MIDDLE AGED MAN in a very expensive suit.  
  
JILL  
  
Hey, I heard about that guy.  
  
Whatever happened to him?  
  
ENNRICO  
  
Not that that is relevant,  
  
but nobody knows for sure.  
  
Trevor, his wife, and their  
  
daughter just disappeared  
  
shortly after he completed  
  
Lord Spencer's project and  
  
was never heard from since.  
  
Now, if we could get back  
  
to the subject...  
  
(flip's back to the mansion photo.)  
  
Ozwell Spencer wanted the  
  
estate to be a resort of sorts  
  
for the higher-up employees  
  
of the "Umbrella" corporation,  
  
a company he and a few other  
  
prominent billionaires own.  
  
JOSEPH  
  
You mean to tell us that the  
  
the Spencer family owns that  
  
fruity cosmetics company?  
  
ENRICO  
  
Shut up, Frost. Anyway,  
  
The Spencer Estate was  
  
condemned and shut down  
  
in less than a year after  
  
it opened and has been  
  
abandoned since. There are  
  
some speculations that the  
  
Arklay Murderers might be  
  
hiding there. Bravos,  
  
inspecting the mansion is  
  
our main goal in this mission.  
  
Any questions?  
  
(Jill raises her hand)  
  
Yes?  
  
JILL  
  
Why was the mansion shut down?  
  
WESKER  
  
I'll take that one. You see,  
  
George Trevor had a very  
  
unhealthy passion for Edgar  
  
Allan Poe and James Bond movies.  
  
Unknown to Lord Spencer, he, for  
  
reasons unknown to this day, had  
  
build many booby traps. Most of  
  
them were quite dealy. After a  
  
third person got hurt from one  
  
of Trevor's traps, the mansion  
  
was deemed unlivable, and condemned.  
  
JOSEPH  
  
That Trevor was one sick fuck.  
  
WESKER  
  
Joseph, without the commentary,  
  
please. Well, if there is no  
  
more questions, we are done.  
  
Enrico, take it from here.  
  
Wesker quickly crosses to the door and exits.  
  
ENRICO  
  
Okay Bravos, its showtime. Let's  
  
get cracking. Everything has to  
  
be ready for tonight that we  
  
could leave immediately.  
  
The Bravos, which consists of Kevin, Forest, Rebecca, Sullivan, Dewey, and Aiken rise up and, together with Enrico exit.  
  
JILL  
  
I still say they should have  
  
let us handle it first.  
  
CHRIS  
  
Jill, just move on already.  
  
Jill sighs in annoyance. 


	3. PART 3

EXT. ARKLAY FOREST - CAMP SITE - NIGHT  
  
TWO PEOPLE are sitting by a campfire, looking at the stars. They are JARED and ANNE, both in their early thirties. A big tent is seen in the back. A little further is an SUV.  
  
ANNE  
  
Jared?  
  
JARED  
  
Yeah?  
  
ANNE  
  
Do you love me?  
  
JARED  
  
Anne, that's a stupid  
  
question.  
  
ANNE  
  
Well, then tell me.  
  
JARED  
  
Okay. I love you.  
  
ANNE  
  
Oh, Jared...  
  
They kiss passionatly. Jared then looks at at the receding fire.  
  
JARED  
  
Listen, the fire is getting  
  
small. I'll go in the woods  
  
to to get some more fire wood.  
  
ANNE  
  
Hurry up. Remember the cannibal  
  
murders?  
  
Jared rolls his eyes.  
  
JARED  
  
Anne, we are miles away  
  
from that spot.  
  
Jared kisses Anee, takes a hatchet lying next to the camp fire, picks up a flashlight from a nearby backpack and heads for the woods.  
  
CUT TO:  
  
EXT. ARKLAY FOREST - NIGHT  
  
Jared, clutching the hatchet in one one hand, flashlight in the other, is wondering around the endless trees, bushes, and grass.  
  
JARED  
  
There has got to be a fallen  
  
down tree somewhere...  
  
Jared keeps wondering around, shining The light on The darkness, until he reaches a small lake, with a few red herbs growing next to it.  
  
JARED(CONT.)  
  
Cool! It's those rare red  
  
herbs! You don't see these  
  
often these days...  
  
Suddenly, A DULL GROWL of a beast fills the night air. Jared, confused, turns around and starts frantically shining yhe light from his flashlight around the dark forest.  
  
JARED(CONT.)  
  
What the hell... Is somebody  
  
out there?  
  
The growl is heard again. A dark shape of something that looks like a wolf can be seen from behind a big elm tree, right behind Jared.  
  
JARED(CONT.)  
  
Where The hell is this growling  
  
coming from?  
  
The growling stops as suddenly as it began. A still silence sorrounds The forest once again.  
  
JARED  
  
(self reassuringly)  
  
Must have imagined it. Now  
  
where are these fucking  
  
branches...  
  
Jared is about to turn around and leave, when a quiet rustling of grass is heard.  
  
JARED  
  
Anne? Is that You?  
  
Jared slowly begins to turn around.  
  
SLAM CUT TO:  
  
EXT. CAMP SITE-SAME TIME.  
  
Anne, huddled by the fire, hears Jared's scream, emitting from the woods.  
  
ANNE  
  
Jared?  
  
Anne gets up and runs into the woods..  
  
EXT. ARKLAY FOREST - NIGHT  
  
Anne runs up to the lake where Jared was just a moment ago.  
  
ANNE  
  
Jared? Where are you? This  
  
isn't funny.  
  
Anne starts searching around the area, shining the light from the flashlight.  
  
ANNE(CONT.)  
  
Jared... Come on!  
  
Suddenly, A DARK SHAPE lunges itself onto Anne. She screams and thrashes in terror as the creatue throws her on the ground.  
  
ANNE  
  
No! No!  
  
Nothing seems to be happening, besides the fact that something is on top of Anne. She stops her thrashings and realizes it is simply Jared, grinning wickedly.  
  
JARED  
  
Gotcha.  
  
ANNE  
  
I could just slaughter  
  
you.  
  
JARED  
  
Ooh! I guess I discovered  
  
the Arklay Ripper.  
  
ANNE  
  
Oh, shut up!  
  
Anne pushes Jared off of herself and the two of them sit up in the grass.  
  
JARED  
  
You know, the best thing  
  
is that I had this planned  
  
out all along.  
  
ANNE  
  
Jared, you jerk, how could  
  
you!  
  
Anne gets up and is about to walk away, but Jared grabs her sleeve. She sighs and sits back down  
  
JARED  
  
No, wait. Anne, this isn't  
  
all I had planned out.  
  
ANNE  
  
Then what else? A jack in  
  
the box?  
  
JARED  
  
No. This.  
  
Jared takes out a small velvet box.  
  
ANNE  
  
Is this?  
  
JARED  
  
It is.  
  
Jared opens the box and takes out a diamond ring. He puts it on Ann's hand. She adores it for a second and then kisses him.  
  
ANNE  
  
Jared, it's gorgeous.  
  
JARED  
  
Anne?  
  
ANNE  
  
Yes?  
  
JARED  
  
Will you---  
  
He never has the chance to finish the sentence, because with a loud snarl, A BLACK SHAPE, REMOTELY RESEMBLING A LARGE HOUND, jumps out of nowhere and slams Jared, still smiling and totally oblivous, out of view.  
  
Blood spurts on Anne's shocked face. Almost petrified, she grabs the flashlight and shines it off to the side. As she sees what the light is bouncing off of, she shrieks.  
  
The dark shape has mounted itself on Jared's convulsing body, feasting on his throat. Anne sees Jared's face. Blood is bubblinmg from his mouth, his face is splattered with gore and his eyes are wide oepn is shock.  
  
ANNE  
  
(shrieking)  
  
No! My god, Jared! No! No!  
  
The creature hears her screams and slowly turns its head towards Anne.It is nearly impossible to see its face due to the darkness of the night, but Anne's flashlight shines on some of its glistening, exposed flesh.  
  
The creature climbs off of Jared, who is no longer breathing, and chrages for Anne. She screams, drops her flashlight, and runs off.  
  
CUT TO:  
  
EXT. ARKLAY FOREST - CAMP SITE - NIGHT.  
  
With the beast's snarls getting closer, Anne races to the backpack. She empties it, dropping all the items on the ground. She digs around them.  
  
ANNE  
  
Where are the goddman  
  
keys?!  
  
The growling is louder, The black shape os the creature can be now seen a couple off hundred yeards away.  
  
Anne finds the keys and runs to the SUV. She picks out a key from the cahin, and opens the car's driver seat door.  
  
As she shuts the door, the the creature slams its weight into the car.  
  
CUT TO:  
  
EXT. CAMP SITE - SAME TIME.  
  
Anne, huddled by the fire, hears Jared's scream, emitting from the woods.  
  
ANNE  
  
Jared?  
  
Anne gets up and runs into the woods.  
  
CUT TO:  
  
EXT. ARKLAY FOREST - NIGHT  
  
Anne runs up to the lake where Jared was just a moment ago.  
  
ANNE  
  
Jared? Where are you? This  
  
isn't funny.  
  
Anne starts searching around the area, shining the light from the flashlight.  
  
ANNE(CONT.)  
  
Jared... Come on!  
  
Suddenly, A DARK SHAPE lunges itself onto Anne. She screams and thrashes in terror as the creatue throws her on the ground.  
  
ANNE  
  
No! No!  
  
Nothing seems to be happening, besides the fact that something is on top of Anne. She stops her thrashings and realizes it is simply Jared, grinning wickedly.  
  
JARED  
  
Gotcha.  
  
ANNE  
  
I could just slaugheter  
  
you.  
  
JARED  
  
Ooh! I guess I discovered  
  
the Arklay Ripper.  
  
ANNE  
  
Oh, shut up!  
  
Anne pushes Jared off of herself and the two of them sit up in the grass.  
  
JARED  
  
You know, the best thing  
  
is that I had this planned  
  
out all along.  
  
ANNE  
  
Jared, you jerk, how could  
  
you!  
  
Anne gets up and is about to walk away, but Jared grabs her sleeve. She sighs and sits back down  
  
JARED  
  
No, wait. Anne, this isn't  
  
all I had planned out.  
  
ANNE  
  
Then what else? A jack in  
  
the box?  
  
JARED  
  
No. This.  
  
Jared takes out a small velvet box.  
  
ANNE  
  
Is this?  
  
JARED  
  
It is.  
  
Jared opens the box and takes out a diamond ring. He puts it on Ann's hand. She adores it for a second and then kisses him.  
  
ANNE  
  
Jared, it's gorgeous.  
  
JARED  
  
Anne?  
  
ANNE  
  
Yes?  
  
JARED  
  
Will you---  
  
He never has the chance to finish the sentence, because with a loud snarl, A BLACK SHAPE, REMOTELY RESEMBLING A LARGE HOUND, jumps out of nowhere and slams Jared, still smiling and totally oblivous, out of view.  
  
Blood spurts on Anne's shocked face. Almost petrified, she grabs the flashlight and shines it off to the side. As she sees what the light is bouncing off of, she shrieks.  
  
The dark shape has mounted itself on Jared's convulsing body, feasting on his throat. Anne sees Jared's face. Blood is bubblinmg from his mouth, his face is splattered with gore and his eyes are wide oepn is shock.  
  
ANNE  
  
(shrieking)  
  
No! My god, Jared! No! No!  
  
The creature hears her screams and slowly turns its head towards Anne.It is nearly impossible to see its face due to the darkness of the night, but Anne's flashlight shines on some of its glistening, exposed flesh.  
  
The creature climbs off of Jared, who is no longer breathing, and chrages for Anne. She screams, drops her flashlight, and runs off.  
  
CUT TO:  
  
EXT. ARKLAY FOREST - CAMP SITE - NIGHT.  
  
With the beast's snarls getting closer, Anne races to the backpack. She empties it, dropping all the items on the ground. She digs around them.  
  
ANNE  
  
Where are the goddman  
  
keys?!  
  
The growling is louder, The black shape os the creature can be now seen a coupe off hundred yeards away.  
  
Anne finds the keys and runs to the SUV. She picks out a key from the cahin, and opens the car's driver seat door.  
  
As she shuts the door, the the creature slams its weight into the car.  
  
CUT TO:  
  
INT. TRUCK - NIGHT.  
  
The black shape of the dog is scratching the outside of The truck, slamming its wieght into it, while snarling demonically. Anne is sitting behind the driver's seat.  
  
ANNE  
  
My god... What are you?!!!  
  
Anne ignites the engine. The truck's motor comes to life and through the window it is seen that the car is moving away from the beast.  
  
CUT TO:  
  
EXT. ARKLAY FOREST - CAMP SITE - NIGHT  
  
The SUV drives off into the darkness. The creature does not follow, as if knowing that it will not be able to catch up. Instead, it sits calmly on the ground, and howls at the moon. 


	4. PART 4

INT. POLICE DEPARTMENT - BREAK ROOM - DAY  
  
A couple of cops are enjoying lunch in the big room. It obviously used to be a luxurious lounge done in Victorian tyle, but now it has been turned into a typical employee lounge.  
  
Jill and Joseph are drinking coffee, watching FRIDAY THE THE 13TH PART 2 on the television. It is the moment where the heoine puts on Mr. Voorhees's sweater, trying to trick Jason into thinking that she is his deceased mother.  
  
JILL  
  
You, know it really pisses  
  
me off that what used to  
  
be the most luxurious room  
  
in Colorado has been turned  
  
into a seedy employee lounge.  
  
JOSEPH  
  
Hey, its not our fault  
  
they transferred the police  
  
station to the museum.  
  
JILL  
  
I know. I just happen to  
  
be a vey sentimental person.  
  
Jill observes the action unraveling on the television screen.  
  
JILL(CONT.)  
  
This is so retarded.  
  
JOSEPH  
  
No, it's not! Personally,  
  
the suspense is killing  
  
me.  
  
JILL  
  
And how is this invisible  
  
suspense killing you? And  
  
why the hell is she wearing  
  
that filthy sweater?  
  
JOSEPH  
  
Don't you see? That girl  
  
is trying to trick Jason  
  
into thinking that she is  
  
his mother.  
  
JILL  
  
And why? What's the freaking  
  
point?  
  
JOSEPH  
  
So that he would be easier  
  
to---  
  
At that moment, the door slams open and Barry rushes in.  
  
BARRY  
  
Jill! Joseph!  
  
JILL  
  
Barry, what the hell?  
  
JOSEPH  
  
Aw... Have your little Moira  
  
and Polly grown another tooth?  
  
BARRY  
  
(catching his breath)  
  
Arklay... The cannibals...  
  
There's been another  
  
murder!  
  
JILL  
  
What?!  
  
JOSEPH  
  
When did it happen?  
  
BARRY  
  
Just last night. A couple  
  
went camping out in the  
  
woods and... Let's just  
  
say that the scenic view  
  
stole the guys heart, along  
  
with a couple of other  
  
organs.  
  
JILL  
  
What about the girl?  
  
BARRY  
  
Oh, she made it. Wesker  
  
and Chris are questioning  
  
her. The girl's hysterical.  
  
JOSEPH  
  
No shit.  
  
BARRY  
  
Yes shit. Anyway, Jill, they  
  
there. They said that the  
  
interrogation might actually  
  
go somewhere if there's a  
  
woman present.  
  
JILL  
  
I'm going.  
  
Jill and Barry rush out of the room. Joseph sighs and goes back to watching the television, as an advertisemen shows depicting a bird's eye view of a red and white umbrella.  
  
TELEVISION ANNOUNCER  
  
Closed captioning and other  
  
considerations provided by...  
  
The Umbrella Corporation.  
  
Employing forty-five thousand  
  
people right here in Raccoon City.  
  
CUT TO:  
  
INT.POLICE DEPARTMENT - INTERROGATION ROOM - DAY  
  
Anne is sitting behind the table, vey pale and trembling. Her hair is a total mess and the clothes are wrinkled. She is holding a paper cup of coffee.  
  
Wesker and Chris are standing over her.  
  
WESKER  
  
Now once again. You shined  
  
the flashlight and saw...  
  
ANNE  
  
I saw that... That dog. It  
  
was... My god, it was eating  
  
Jared...  
  
CHRIS  
  
Miss Collins, you have to  
  
understand that---  
  
Anne begins to weep.  
  
ANNE  
  
Please, just leave me alone...  
  
I want to go home.  
  
The door opens and Jill rushes in.  
  
JILL  
  
Okay guys, this interview  
  
is over.  
  
CHRIS  
  
Jill, this is not the kind  
  
of help we---  
  
JILL  
  
Be quiet.  
  
(to Anne)  
  
Now, Miss... What's your  
  
name?  
  
ANNE  
  
It's Anne.  
  
JILL  
  
Anne, it's going to be  
  
okay. Just rest up here  
  
for a minute and then  
  
we'll find someone to  
  
escort you home. Does  
  
that sound all right?  
  
ANNE  
  
Yes... Yes it does.  
  
WESKER  
  
Jill? Could we speak to  
  
you you?  
  
JILL  
  
(giving Anne a tissue)  
  
In a sec.  
  
WESKER  
  
Now.  
  
JILL  
  
(sighs)  
  
Fine.  
  
Wesker and Chris escort Jill outside.  
  
CUT TO:  
  
INT. POLICE DEPARTMENT - HALLWAY - DAY  
  
Wesker and Chris are glaring at Jill.  
  
WESKER  
  
What the hell do you think  
  
you're doing?  
  
CHRIS  
  
Come on, Jill. You're the  
  
one that always wanted to  
  
solve this case. Why are  
  
you sending the witness home  
  
all of the sudden?  
  
WESKER  
  
It wouldn't hurt to make  
  
up your mind.  
  
JILL  
  
Listen, I am the only member of  
  
S.T.A.R.S. that has a minor  
  
in psychology and I am the only  
  
one who is capable of handling  
  
that girl. You start interogating  
  
her now and she will never talk.  
  
For god's sake, she just saw her  
  
fiancee turn into a lunch special!  
  
WESKER  
  
So, what do you want me to do?  
  
Book her a room in the Betty  
  
Ford Center?  
  
JILL  
  
She's going home.  
  
WESKER  
  
I will not let you screw up  
  
our investigation.  
  
JILL  
  
And I will not let you screw  
  
up our star witness.  
  
Jill storms back into the interrogation  
  
WESKER  
  
She ought to learn her place.  
  
CHRIS  
  
Well, you have to understand,  
  
she was the head of a Delta  
  
Force team fora year before she got  
  
here. Leadership's in her blood.  
  
WESKER  
  
P.M.S. is in her blood. If the  
  
Alphas do join the Bravos in  
  
the investigation, I can't  
  
have Valentine running around,  
  
bitching orders. In any case,  
  
I have to go and check up with  
  
coroner if they body's been  
  
delivered.  
  
Wesker disappeares behind the corner, as Chris enters the interrogation room.  
  
CUT TO:  
  
EXT. RPD PARKING LOT - FEW HOURS LATER.  
  
Jill, dressed casually, is unlocking her. The wind slowl rustles the leaves in the trees, the lot is deserted.  
  
Heavy Breathing slowly filters in. Jill's eyes slowly shift to the side. A soft sound of shuffling feet is heard behind some cars. It grows louder. Louder.  
  
Jill slowly reaches inside her jacket, grasping the gun in the holster, when Chris jumps out from behind the nearby SUV.  
  
JILL  
  
Jesus, you scared me!  
  
CHIRS  
  
Yeah, twice! Guess I'm going  
  
for a record.  
  
JILL  
  
What do you want?  
  
CHRIS  
  
I just want to tell you that  
  
since we're Alphas, we are not  
  
needed until six.  
  
JILL  
  
Thank god for that.  
  
WESKER  
  
(o.s.)  
  
Well, for you it is five.  
  
Chris and Jill turn around to face Wesker.  
  
JILL  
  
And why is that?  
  
WESKER  
  
I signed you up to observe  
  
the autopsy of the late  
  
Jared Parsons.  
  
JILL  
  
This because I interrupted  
  
the interview with Anne  
  
Collins, isn't it?  
  
WESKER  
  
Hey, you said it, not me.  
  
With a devious smirk, Wesker walks off.  
  
CUT TO:  
  
EXT. SKY - NIGHT  
  
A helicotper is whirring through through the dark clouds. Dense forests and mountains are a few miles below.  
  
Upon closer examinatio, there is an ensign on the helicopter, it says S.T.A.R.S.: Bravo Unit.  
  
CUT TO:  
  
INT. HELICOTPER COCKPIT - NIGHT  
  
The Bravos are are all gathered inside. Kevin Dooly is piloting. Some are checking out their guns, while the others are looking through the window. Rebecca is one of the of the latter.  
  
Edward Dewey changes his attention from his revolver to Rebecca. He gets up and sits down next to her.  
  
DEWEY  
  
Are you okay?  
  
REBECCA  
  
I'm fine. It's just that it  
  
is my first mission and---  
  
EDWARD  
  
I understand. Listen, all  
  
you need---  
  
Suddenly, the helicopter shakes violently. Rebecca screams and falls on the floor, Dewey kneels down to help her.  
  
CUT TO:  
  
EXT. HELICOPTER - NIGHT  
  
A geyser of fire emits out of the openings under the propeller blade.  
  
CUT TO:  
  
INT. HELICOPTER - NIGHT  
  
Enrico turns over to Dooly.  
  
ENRICO  
  
Dooly, what the fuck?  
  
DOOLY  
  
I don't know... the engine  
  
was fine when---  
  
The helicopter thrusts and tilts down to a fifty degree angle.  
  
SULLIVAN  
  
Damn!  
  
DOOLY  
  
Hold on, we're gonna crush!  
  
CUT TO:  
  
EXT. SKY - NIGHT  
  
The helicopter, spewing smoke and fire, begins to lose its altitude and fall towards the ground. 


	5. PART 5

INT. POLICE DEPARTMENT - HALLWAY - BASEMENT - DAY  
  
Jill is walking down a long, darkened hall, holding a stack of folders. Her gun is safely placed in the holster outside her shirt. She approaches a door with a MORGUE sign bolted on it.  
  
CUT TO:  
  
INT. MORGUE - DAY  
  
Strollers are crowding the room, with bodies, covered by white sheets and black plastic bags, lying on them. A set of one person refrigerators are in the back.  
  
A rather unpleasent, OBESE CORONER, in a blood stained apron, resides behind a table, which is in a chaoitc mess. The Coroner is calmly destroying the contents of a Krispy Kreme box.  
  
Jill enters and looks at the CORONER with a badly disguised repulsion.  
  
JILL  
  
Umm... Good afternoon. I am  
  
Jill Valentine with the Special  
  
Tactics And Rescue Service. I'm  
  
supposed to assist you with the  
  
autopsy of Jared Parsons.  
  
CORONER  
  
Number.  
  
JILL  
  
Excuse me?  
  
The Coroner sighs and rolls his eyes.  
  
CORONER  
  
Listan Ma'am, I don't have the  
  
time to memorize everyone's  
  
names. The bodies are catalgued.  
  
Now tell me the stiff's number  
  
so that we can get this moving.  
  
Jill gives the Coroner a spiteful look, opens the folder and looks inside.  
  
JILL  
  
Twenty seven.  
  
CORONER  
  
Right this way.  
  
The Coroner dumps the donut box on top of the papers and leads Jill to a body. He lifts the cover. Jill turns away in disgust immediately.  
  
JILL  
  
Oh, sweet...  
  
CORONER  
  
Oh, pardon me. This one's not  
  
yours. You know them hillbillies  
  
living in the outskirts. Can't  
  
settle an arguement without an  
  
axe in the head.  
  
JILL  
  
If we please can move this  
  
along...  
  
The Coroner leads Jill to a nearby body. He lifts the cover. Jill is stunned into silence and immobility. The Coroner sees this and grins.  
  
CORONER  
  
I know how you feel.  
  
JILL  
  
Are... Are you sure the other  
  
one wasn't mine?  
  
CORONER  
  
I'm positive. You know, I'm  
  
not really sure why we're  
  
here. I mean, what's there to  
  
autopsy? They guy's pretty  
  
much hallowed out. In any  
  
case...  
  
He puts on a set of rubber gloves from a nearby tables, then proceeds to grab a tape recorder and a scalpel.  
  
CORONER(CONT.)  
  
(speaking into the recorder)  
  
July twenty-eight, ninteen  
  
ninety eight. Five fourteen  
  
p.m. Coroner. Dan Morton. I  
  
am standing here with Special  
  
Tactics And Rescue Service  
  
Officer Jill Valentine. We are  
  
examining the body of the  
  
eleventh victim if the Arklay  
  
killings, Jared Parsons. The  
  
victim died due to major blood  
  
and organ loss.  
  
Jill takes a deep breath and turns her head to the side.  
  
CORONER(CONT)  
  
Most of the organs are missing  
  
and were apperently eaten. I  
  
will now make an incision at the  
  
lower part of the abdomen, the  
  
only part even remotely intact.  
  
As the Coroner makes the incision, a small amount of dark, chunky blood pours out. The Coroner's eyes widen and he backs away.  
  
CORONER(CONT.)  
  
What the hell?  
  
Jill turns her heed back.  
  
JILL  
  
Is something wrong?  
  
CORONER  
  
It's the blood... It is  
  
properly coagulated and  
  
everything...  
  
JILL  
  
So what is the problem?  
  
CORONER  
  
It is still circulating.  
  
JILL  
  
How is that possible? He's  
  
been dead for hours and most  
  
of his organs are missing!  
  
CORONER  
  
Don't you think I know that?  
  
Listen, there must be a logical  
  
explanation of this. Perhaps a  
  
a gas of some sort is pushing  
  
the blood...  
  
They both stare at the body. Suddenly, Jill screams. The eyes Jared's mutilated face, encrusted with blood, blink.  
  
JILL  
  
He's alive!  
  
A low moan erupts from Jared, as his chewed up hand slowly begins to rise.  
  
JILL(CONT.)  
  
What's happening?  
  
CORONER  
  
The gasses---  
  
JILL  
  
Fuck the gasses! The guy's  
  
alive!  
  
Jared sits up, very clumsily, like a new born. Some intestines splither out of the gaping hole in his stomach and land with sickening splat on the floor. Jill covers her mouth, almost gagging on her vomit.  
  
CORONER  
  
It's impossible...  
  
Jared stares at the two, confused. Suddenly, he lets out an animal-like snarl and and with his outstretched hand grabs the Coroner's arm. The latter screams in terror and drops the scalpel and recorder on the floor.  
  
CORONER(CONT.)  
  
What's it doing? Help!  
  
Jared pulls the Coroner's arm towards his opening, drooling mouth.  
  
Jill acts quicky, she drops the folders on the floor and whips out her gun. She aims a Jared, pulls the trigger. Nothing.  
  
CORONER(CONT.)  
  
Noooo!!!  
  
Jared begins to slowly sink his teeth into the Coroner's flesh, as Jill desperatly tries to figure out what is wrong woth her revolver.  
  
JILL  
  
Goddamn magazine jammed...  
  
The Coroner's screams grow louder as Jared's teeth break the skin and blood begins to ooze out.  
  
Jill sees the scalpel on the floor, puts it down and kneels down to grab the small knife.  
  
CORONER  
  
Help!  
  
Jill stands with the knife for a few moments, confused. Then shequickly jams the scalpel between Jared's eyes.  
  
Jared's grip relaxes, his jaw drops, releasing the Coroner. Then, his eyes roll into th back of the head and he falls back down on the table.  
  
The Coroner collapses on the floor, holding his bleeding arm. Jill drop sthe scalpel on the ground, and as she is putting her gun back in the holster, she kneels down the Coroner.  
  
JILL  
  
Are you okay?  
  
CORONER  
  
The damn thing bit me.  
  
Jill looks at his small wound, it is just some slightly broken skin.  
  
JILL  
  
It's not that bad.  
  
CORONER  
  
Thank god for that.  
  
JILL  
  
What the fuck was that? He  
  
was dead just a second ago.  
  
CORONER  
  
Well, sometimes the decomposition  
  
gasses cause the body to rise and  
  
produce---  
  
JILL  
  
Will you just shut up with  
  
the gasses! That body came  
  
back to life, bit you on the  
  
arm and would have still been  
  
alive and gnawing on you if  
  
I hadn't jammed that damn  
  
scalpel in his head!  
  
CORONER  
  
But it's impossible. For  
  
god's sake, the man'spleen  
  
and intestines were missing!  
  
JILL  
  
Well it didn't stop him from...  
  
In any case, I must go and  
  
report this. I'll also call the  
  
ambulance for you. Who knows what  
  
kind of disease that thing carried.  
  
Jill jumps to her feet and rushes out of the room.  
  
CUT TO:  
  
INT. POLICE DEPARTMENT - HALLWAY - DAY  
  
Jill runs down the hell, pushing aside the staff.  
  
JILL  
  
Somebody, call an ambulance,  
  
a man was attacked in the  
  
morgue.  
  
MAN  
  
Valentine, is this some type  
  
of joke?  
  
Jill does not pay attention to him and opens a door, next to which is a plaque reading S.T.A.R.S.  
  
CUT TO:  
  
INT. POLICE DEPARTMENT - S.T.A.R.S. OFFICE - DAY  
  
The entire Alpha unit is gathered around a huge radio receiver in the back, listening to white noise. Jill runs in.  
  
JILL  
  
Guys! Something weird is  
  
happening with the body---  
  
JOSEPH  
  
Jill, shut up.  
  
JILL  
  
Wha---  
  
Kevin Dooly's voice filters in from the static.  
  
DOOLY  
  
This is Kevin Dooly... We've  
  
crashed landed at forty five  
  
degrees north, forty one degrees  
  
west. Evryone else split up, I  
  
can't find them...  
  
A loud banging noise mixes in with Dooly's voice.  
  
DOOLY(CONT.)  
  
Something's trying to get in,  
  
send help immediately!  
  
A crashing sound is heard and Dooly begins to scream, soon loud growling over powers his voice and once again, only white noise is heard.  
  
JILL  
  
Did I miss something?  
  
JOSEPH  
  
It's the Bravos... Apparently  
  
they crash landed in the woods  
  
last night and were attacked  
  
by something. The machine got  
  
this message last night.  
  
CHRIS  
  
We must get there immediately.  
  
Brad, warm up the chopper!  
  
BARRY  
  
I'll sort out the weapons.  
  
JILL  
  
Hold on! Guys, the body in  
  
the morgue, it came alive.  
  
JOSEPH  
  
What? Jill, what are you  
  
talking about?  
  
WESKER  
  
This will have to wait, Jill  
  
get your things.  
  
JILL  
  
Right, but---  
  
WESKER  
  
Jill, we'll talk about it  
  
afterwards.  
  
The Alphas begin rushing about the room, opening drawers, locker, grabbing guns and vests. 


	6. PART 6

EXT. POLICE DEPARTMENT - HELIPAD - DAY  
  
The blades of Alpha unit helicopter whir to life and the helicopter slowly rises off the ground, and flies off into the setting sun.  
  
CUT TO:  
  
EXT. SKY - NIGHT  
  
A thin line of the remaining sunshine outlines the mountains. In the forground, the Alpha unit chopper is flying, its searchlight desperately illuminating the forest below.  
  
CUT TO:  
  
INT. ALPHA HELICOPTER - NIGHT  
  
Brad is wering the pilot helmet, operating the helicopter. Wesker is sitting next to him. Chris, Jill, Barry and Joseph are in the back.  
  
CHRIS  
  
So, what exactly happened  
  
at the morgue?  
  
JILL  
  
Jared Parsons's body... It is  
  
like... It get re-animated  
  
somehow.  
  
JOSEPH  
  
Jill, what are you talking  
  
about?  
  
JILL  
  
He opened his eyes and went  
  
after the Coroner. It was  
  
like something out of a  
  
fucking George Romero movie!  
  
WESKER  
  
Wait a second, that's not  
  
possible.  
  
JILL  
  
That is exactly what I am  
  
talking about.  
  
JOSEPH  
  
How exactly does a dismembered  
  
corpse come back to life?  
  
JILL  
  
I don't know! It did not  
  
happen to the other victims  
  
and... Oh, my god.  
  
CHRIS  
  
What is it?  
  
JILL  
  
The other victims. Parsons  
  
was not nearly as mutilated  
  
as the rest. His heart, brain,  
  
spine were all intact... So...  
  
BARRY  
  
It is starting to sound like  
  
a George Romero movie.  
  
WESKER  
  
Well, there must be some  
  
reason why---  
  
BRAD  
  
My god... Look!  
  
Everyone, almost simultaneously, looks over where Brad is pointing.  
  
Outside the window, the searchlight is shining on the twisted wreckage of the Bravo unit helicopter.  
  
CUT TO:  
  
EXT. WOODS - NIGHT  
  
With a loud whirring noise, the chopper lands about sixty yards away from the remnants of the bravo helicopter. The blades die, and moment later the hatch opens and the Bravos, all except Brad, jump out, their weapons ready.  
  
JILL  
  
Kenneth? Forest?  
  
JOSEPH  
  
Anyone? Rebecca Chambers?  
  
CHRIS  
  
Enrico? Kevin! Ed!  
  
WESKER  
  
The helicopter's a derilict...  
  
JOSEPH  
  
I'll go check it out.  
  
Joseph slowly approaches the helicopter, gripping his gun tighter and tighter. He reaches the helicopter and looks inside. Joseph immediately screams and turns away.  
  
Inside the cockpit, a corpse is literelly smeared all over the place. Upon closer examination the body is revealed to be that of Kevin Dooly.  
  
Joseph grabs the side of the ruined helicopter for support and retches loudly. The others rush up to him.  
  
WESKER  
  
Frost?  
  
CHRIS  
  
What is it?  
  
Barry peers inside.  
  
BARRY  
  
Jesus! Kevin...  
  
Jill looks inside as well and gasps in horror and repulsion.  
  
JILL  
  
What could have done that?  
  
It could not have been a  
  
human... It couldn't be...  
  
WESKER  
  
Okay, they important thing  
  
is to keep calm. The first  
  
thing we must accomplish is  
  
finding the others.  
  
Jospeh wipes his mouth and regains his posture.  
  
JOSEPH  
  
Or what's left of them.  
  
WESKER  
  
Frost, shut up. All right,  
  
let's split up and scour  
  
the area. We'll rendezvous  
  
back here in fifteen.  
  
Everyone nods.  
  
DISSOLVE TO:  
  
EXT. WOODS - NIGHT - A FEW MINUTES LATER  
  
Everyone is seaching their designated areas, their guns aimed. Jill and Joseph are closer to each other than the rest.  
  
Joseph hears a quiet rustling sound and quickly turns around, aiming his gun.  
  
JOSEPH  
  
Freeze!  
  
There is nothing there, except for some bushes. Joseph shrugs and turns around.  
  
JILL  
  
What was it?  
  
JOSEPH  
  
Probably the wind.  
  
Then, with no warning, A HUGE SHAPE jumps out of the bushes and lunges on Joseph. It takes a chunk out of his arm. Jospeh screams in pain and drops his gun.  
  
JILL  
  
Joseph!  
  
She begins to shoot wildly at the shape.  
  
Just then, the moon appears from out of the clouds, and the shape is revealed to be a badly decomposed Doberman.  
  
The others hear the commotion and rush towars Jill and Joseph.  
  
The dog forces Joseph on the ground, as more Dobermans appear out of the darkness and begin feasting on the body.  
  
Jill's gun clicks, the magazine is empty. Terrified, she stares at her useless weapon.  
  
One of the dogs, still munching on Joseph's flesh, turns their hideous head over to Jill. Some blood from his face is catapulted onto Jill's cheek. She slowly begins to back away, but trips on a tree branch and collapses on the ground.  
  
The Doberman leaps through the air after Jill, but at the last second a loud gunshot is heard and the dog is knocked to the ground. A second later Chris shows up and helps Jill up.  
  
CHRIS  
  
C'mon!  
  
Chris grabs Jill by the arm and the two begin to run. The Dobermans finish mauling Joseph's corpse and start chasing after the others.  
  
The rotting dogs are too fast for Jill and Chris and catching up quickly. One Doberman leaps into the air an goes after Jill. Chris sees this and covers her with himself. The dog is only a few inches away. Chris cries out and covers his arm over his face.  
  
Just then a gunshot completely dismembers the Doberman's hideous head. Chris turns to the corner to see Wesker.  
  
WESKER  
  
Chris, this way!  
  
The three begin running towars the helicopter, as Barry joins them.  
  
Just then, a whirring sounf is heard overhead. Chris looks up and sees the chopper flying off.  
  
CHRIS  
  
Brad! Where the fuck is he  
  
going?  
  
For a few moments, the Alphas stand in the opens field, looking helplessly as the helicopter disappeares into the night.  
  
BARRY  
  
Goddamn chickenshit.  
  
The growling grows louder and the crazed Dobermans are getting closer.  
  
WESKER  
  
Go!  
  
Everyone runs off deeper into the woods, stopping only for a short while to spray the dogs with bullets.  
  
Chris turns his head and sees a pair of collapsed gates, beyond which lies a gigantic mansion.  
  
CHRIS  
  
Jill, run for that house!  
  
I'll cover you.  
  
JILL  
  
But---  
  
CHRIS  
  
Move, woman!  
  
Jill rushes for the mansion, as Chris shoots wildly at the hounds.  
  
JILL  
  
Wesker, Barry!  
  
She runs for the mansion.  
  
CUT TO:  
  
EXT. MANSION - FRONT PORCH - NIGHT  
  
Jill rushes to the massive double doors and sees them ajar.  
  
JILL  
  
They're open...  
  
Just then, a strong hand pushes into the mansion and two more shapes run inside. 


	7. PART 7

INT. MANSION - MAIN HALL - NIGHT  
  
The room is giganic and impressive. The ceiling is one big skylight, with a crystal chandelier hanging in the center. A big set of windows is on the south side of second floor wall. A sweeping, richely carpeted grand staircase leads upstairs. There are some gothic style chairs elegantly lined up against the wall and some expensive vases are shown off on little tables. Some candles, almost burnt out, are providing extra light. There is a little set of stairs leading behin the staircase. Although the place looks lived in, a thin layer of dust covers the china and the furniture.  
  
Jill, Barry and Wesker are standing int he middle of the room, trying to catch their breath.  
  
JILL  
  
Is everyone all right?   
  
WESKER  
  
I think so. What the hell  
  
just happened?  
  
JILL  
  
Brad! I swear to god, I'll  
  
kill him!  
  
BARRY  
  
What is this place?  
  
WESKER  
  
Not your ordinary trailer,  
  
that's for sure.  
  
Jill looks around her surroundingd and shock of recognition hits her.  
  
JILL  
  
Oh, my god... Joseph... No,  
  
wait... Captain Wesker,  
  
where's Chris?  
  
WESKER  
  
Jill, I'm sorry...  
  
JILL  
  
No!  
  
Jill rushes to the front foor and is about to open, but Wesker grabs her shoulder.  
  
WESKER  
  
Jill, you don't want to open  
  
this door.  
  
JILL  
  
But Chris is---  
  
WESKER  
  
And there is nothing we can  
  
do.  
  
The three stare at each other for a moment, as a crash of lightning breaks the deadly silence.  
  
BARRY  
  
Just our fucking luck. Now  
  
it's gonna rain.  
  
JILL  
  
Wait a second, how did this  
  
mansion get out here.  
  
WESKER  
  
Well, the only mansion anywhere  
  
near here is the Spencer Estate,  
  
so...  
  
JILL  
  
No, it's impossible!  
  
BARRY  
  
Why?  
  
JILL  
  
Hello! The Spencer place was  
  
abandoned over thirty years  
  
ago. This place should be a  
  
hell hole!  
  
BARRY  
  
Well, there is some dust here  
  
and there.  
  
JILL  
  
Barry, please tell me you're  
  
joking. No, this can not  
  
possibly be the Spencer Estate.  
  
WESKER  
  
(sighs)  
  
Look down at our feet.  
  
Jill looks down and sees that the carpeting by the front door sports a fancy, aristocratic ensigne.  
  
JILL  
  
The Spencer family crest...  
  
This is just getting freakier  
  
and freakier.  
  
Suddenly, a loud gunshot erupts from behin a set of double doors on the west well.  
  
BARRY  
  
What was that?  
  
JILL  
  
It could be Chris.  
  
WESKER  
  
Or one of the Bravos. Jill,  
  
will you investigate?  
  
BARRY  
  
I'll go too. Chris and I  
  
go back a long way.  
  
WESKER  
  
I'll secure this exit. We may  
  
need to get out of this mansion  
  
in a hurry after all.  
  
Jill and Barry head for the double doors. Barry aims his gun, as Jill gets to the side and slowly opens the door.  
  
CUT TO:  
  
INT. MANSION - DINING ROOM - NIGHT  
  
The door begins to open slowly, but then flies open as Barry kicks it in with his foot and storms in, his gun ready, followed by Jill. The door closes back behind them.  
  
They eye the room. It is a rather familiar looking dining room, now empty. The food on the tables is dried up and most of the china is smashed to pieces.  
  
BARRY  
  
A dining room.  
  
JILL  
  
Gee, thank for the update.  
  
The begin making their way towards the fireplace.  
  
JILL(CONT.)  
  
Jesus... It looks like this  
  
place has been hit by a  
  
hurricane.  
  
Barry sees something by the fire place and kneels down.  
  
BARRY  
  
Holy shit... Jill, look.  
  
Jill comes up to Barry.  
  
CUT TO:  
  
EXT. WOODS - NIGHT - SAME TIME  
  
The rain is quietly drizzling on the ground. The howling of the Dobermans can be heard int the distance.  
  
Chris is leaning against a tree, catching his breath and reloading his magnum. The growls grow nearer.  
  
CHRIS  
  
Don't these things ever  
  
catch a breather?  
  
Chris bolts forward and finds himself staring at the massive wall of the mansion. He runs to the side and sees a wooden fence. Chris looks at it for a moment, unsurely.  
  
The shape of the hounds begin to materialize in the darkness.  
  
CHRIS(CONT.)  
  
Here goes nothing.  
  
Chris grabs the fence's metal decoration and begins climbing up the brittle fence.  
  
CUT TO:  
  
EXT. YARD - NIGHT  
  
Chris lands in another part of the woods, but the area is completelt fenced. He gets up and cleans the dirt off his clothes.  
  
Chris slowly walks around the corner and hears an anguished moan, a cross between a beast and a woman. He aims his gun into the darkness and beyond the many trees, A DARK HUNCHBACKED SHAPE stumbles slowly, yet intelligently. He then sees a dilapidated cabin about twenty feet away. Chris carefully creeps towards the hut.  
  
CUT TO:  
  
INT. MANSION - DINING ROOM - NIGHT - SAME TIME  
  
Jill puts the gun in her holster, then kneels down next to Barry and dips her fingers in a puddle of red, which is sprawled in front of the fireplace.  
  
JILL  
  
(examining he finger)  
  
Blood.  
  
She stands up.  
  
JILL  
  
What the hell happened here?  
  
BARRY  
  
I'll check the fireplace.  
  
Jill, that door over there...  
  
JILL  
  
I'm on it.  
  
Jill approaches a small door on the right of the fireplace. She examines the knob. It, along with the lock, is hanging by one nail.  
  
JILL(CONT.)  
  
Someone must have been here  
  
before us...  
  
Suddenly, the door swings open. Jill gasps and backs away, Barry stands up and looks into the doorway.  
  
A MAN emerges into the dining room. His clothes are torn and are caked with dried up blood and puss. His eyes are blank and the face is poked with sores, there is fresh blood on his mouth and chin. The Man drooles hungerly. Barry quickly aims his gun on him.  
  
BARRY  
  
Don't move!  
  
The Man, oblivious to Barry, stretches out his arms, and growling like an animal, lunges for Jill.  
  
BARRY(CONT.)  
  
Just one more step and I'll  
  
fire!  
  
The Man claws wildly at Jill, she screams and tries to get her gun out of the holster.  
  
BARRY(CONT.)  
  
Jill, duck!  
  
Jill ducks down, as Barry fires his massive revolver, taking out a chunk of the ghoul's shoulder. The creature does not seem to notice.  
  
BARRY(CONT.)  
  
What the fuck?]  
  
JILL  
  
Barry!  
  
Barry shoots a few times into the creatures chest, the final shot explodes into the ghoul's head. Dark, chunky blood, accompanied by gray matter, splatters on the wall and the creature collapses on the ground.  
  
Barry outs down his weapon and helps Jill up.  
  
BARRY  
  
Are you okay?  
  
JILL  
  
What the hell was that?  
  
BARRY  
  
...A man...  
  
JILL  
  
Did you see what he looked  
  
like? The morgue... It's  
  
exactly what happened in the  
  
morgue!  
  
More footsteps are heard from the darkness beyond the open doorway. Jill and Barry quickly aim their guns.  
  
MALE VOICE  
  
(o.s.)  
  
Who's there?  
  
BARRY  
  
And who's there?  
  
Kenneth Sullivan, caked in dirt and holding his bleeding arm, emerges. Barry and Jill sigh and relieve put their weapons in the holsters. Then, they quickly ten to their wounded ally.  
  
BARRY  
  
Sullivan?  
  
BARRY  
  
Kenneth? Are you okay? What  
  
happened?  
  
SULLIVAN  
  
That thing... It bit me on  
  
the arm, I shot in the knee,  
  
but...  
  
JILL  
  
How deep is your wound?  
  
SULLIVAN  
  
Not that deep.  
  
JILL  
  
Let me take a look.  
  
Jill takes his arm and sees a small bite right above Sullivan's wrist. It is bleeding at a tremendous rate.  
  
JILL(CONT.)  
  
Damn it! That fucker bit  
  
you where veins are. Here,  
  
let me help.  
  
Jill opens up her side pack and takes out a first aid spray. She sprays on Sullivan's wound, he winces in pain.  
  
JILL(CONT.)  
  
Oh, get over it.  
  
She puts the spray back in her side pack, then takes out a small roll of bandages and wraps it around Sullivan's arm.  
  
SULLIVAN  
  
Thanks.  
  
JILL  
  
(zipping up her side pack)  
  
Don't mention it.  
  
BARRY  
  
Come on, we have to meet  
  
Wesker.  
  
SULLIVAN  
  
Wait, how did you guys  
  
get here?  
  
JILL  
  
You see...  
  
As she begins talking, They head towards the double doors.  
  
CUT TO:  
  
INT. MANSION - MAIN HALL - NIGHT  
  
Jill, Barry, and Sullivan find that Wesker is gone.  
  
BARRY  
  
Wesker!  
  
JILL  
  
(almost apolegetically)  
  
He said that he would stay  
  
to secure our exit...  
  
SULLIVAN  
  
I'm used to people disappearing  
  
in this mansion by now.  
  
Barry and Jill run to the small set of stairs and looks behind the staricase. A set of gates adjacent to the staricase (with two indentations) separates the alcove from the pitch black beyond.  
  
BARRY  
  
He's not in the alcoves.  
  
JILL  
  
No, this is impossible! How  
  
could just flake out on us?  
  
SULLIVAN  
  
Okay, let's not lose our heads.  
  
Maybe he was forced to flee.  
  
Can't say I blame him.  
  
JILL  
  
What exactly happened to  
  
you guys out there?  
  
SULLIVAN  
  
When we crash landed, we decided  
  
to split up and resume the  
  
investigation, or at least get  
  
help. Then, those things---  
  
BARRY  
  
The dogs?  
  
SULLIVAN  
  
No, not just the dogs. There  
  
are people... Changed people,  
  
understand?  
  
Jill and Barry nod.  
  
SULLIVAN  
  
They attacked us and... I  
  
saw them maul Dewey...  
  
JILL  
  
What about the others?  
  
SULLIVAN  
  
I caught up with Rebecca,  
  
Richard and Forest by  
  
morning outside the mansion.  
  
We thought it was safe here,  
  
but... Stupid, ain't it? We  
  
got separated, this mansion  
  
is gigantic! Then that thing  
  
attacked me and that is when  
  
you guys got here. I have no  
  
idea where Enrico and Kevin  
  
Dooly are.  
  
JILL  
  
Ken, I'm sorry. We found  
  
Kevin. he...  
  
SULLIVAN  
  
I understand. So, what should  
  
we do now?  
  
BARRY  
  
We have to find the others  
  
and try to get out of this  
  
place. And there is only  
  
one way to do that.  
  
JILL  
  
No, Barry. We can't possibly---  
  
BARRY  
  
Jill, keep an open head. There  
  
is now way we can find the  
  
other and an exit in time  
  
before...  
  
JILL  
  
Before we are all turned into  
  
cole slaw, right?  
  
SULLIVAN  
  
He does have a point. Some  
  
of us must look for the  
  
others and another one must  
  
find an exit.  
  
JILL  
  
All right. But Kenneth,  
  
I'm sticking with you.  
  
SULLIVAN  
  
What? Why? Jill, I'm not  
  
five.  
  
JILL  
  
That maybe so, but you are  
  
wounded and this place maybe  
  
the source of everything. I  
  
am not about to leave a wounded  
  
comrade in a place where these  
  
creatures roam and who knows  
  
what else!  
  
BARRY  
  
Okay, okay. You two will  
  
search for survivors, while  
  
I'll look for a safe way  
  
out.  
  
SULLIVAN  
  
Good. You check the west  
  
wing again, Jill and I  
  
will check the east wing,  
  
there is still some places  
  
there I haven't checked yet.  
  
JILL  
  
All right, then. Barry,  
  
Be careful.  
  
BARRY  
  
Careful? I don't need to  
  
be careful.  
  
Barry shows off his impressive magnum.  
  
JILL  
  
Get over yourself.  
  
SULLIVAN  
  
If anything happens, we'll  
  
go back to the main hall  
  
and wait up for for the other  
  
one.  
  
The three salute each other, half jokingly. Then, Barry heads back for th dining room doors, while Jill and Sullivan approacheS a set of doors across the hall. 


	8. PART 8

INT. MANSION - MAIN HALL - NIGHT  
  
Jill, Barry, and Sullivan enter the hall. Wesker is nowhere in sight.  
  
BARRY  
  
Wesker!  
  
JILL  
  
(almost apolegetically)  
  
He said that he would stay  
  
to secure our exit...  
  
SULLIVAN  
  
I'm used to people disappearing  
  
in this mansion by now.  
  
Barry and Jill run to the small set of stairs and looks behind the staricase. A set of gates adjacent to the staricase (with two indentations) separates the alcove from the pitch black beyond.  
  
BARRY  
  
He's not in the alcoves.  
  
JILL  
  
No, this is impossible! How  
  
could just flake out on us?  
  
SULLIVAN  
  
Okay, let's not lose our heads.  
  
Maybe he was forced to flee.  
  
Can't say I blame him.  
  
JILL  
  
What exactly happened to  
  
you guys out there?  
  
SULLIVAN  
  
When we crash landed, we decided  
  
to split up and resume the  
  
investigation, or at least get  
  
help. Then, those things---  
  
BARRY  
  
The dogs?  
  
SULLIVAN  
  
No, not just the dogs. There  
  
are people... Changed people,  
  
understand?  
  
Jill and Barry nod.  
  
SULLIVAN  
  
They attacked us and... I  
  
saw them maul Dewey...  
  
JILL  
  
What about the others?  
  
SULLIVAN  
  
I caught up with Rebecca,  
  
Richard and Forest by  
  
morning outside the mansion.  
  
We thought it was safe here,  
  
but... Stupid, ain't it? We  
  
got separated, this mansion  
  
is gigantic! Then that thing  
  
attacked me and that is when  
  
you guys got here. I have no  
  
idea where Enrico and Kevin  
  
Dooly are.  
  
JILL  
  
Ken, I'm sorry. We found  
  
Kevin. he...  
  
SULLIVAN  
  
I understand. So, what should  
  
we do now?  
  
BARRY  
  
We have to find the others  
  
and try to get out of this  
  
place. And there is only  
  
one way to do that.  
  
JILL  
  
No, Barry. We can't possibly---  
  
BARRY  
  
Jill, keep an open head. There  
  
is now way we can find the  
  
other and an exit in time  
  
before...  
  
JILL  
  
Before we are all turned into  
  
cole slaw, right?  
  
SULLIVAN  
  
He does have a point. Some  
  
of us must look for the  
  
others and another one must  
  
find an exit.  
  
JILL  
  
All right. But Kenneth,  
  
I'm sticking with you.  
  
SULLIVAN  
  
What? Why? Jill, I'm not  
  
five.  
  
JILL  
  
That maybe so, but you are  
  
wounded and this place maybe  
  
the source of everything. I  
  
am not about to leave a wounded  
  
comrade in a place where these  
  
creatures roam and who knows  
  
what else!  
  
BARRY  
  
Okay, okay. You two will  
  
search for survivors, while  
  
I'll look for a safe way  
  
out.  
  
SULLIVAN  
  
Good. You check the west  
  
wing again, Jill and I  
  
will check the east wing,  
  
there is still some places  
  
there I haven't checked yet.  
  
JILL  
  
All right, then. Barry,  
  
Be careful.  
  
BARRY  
  
Careful? I don't need to  
  
be careful.  
  
Barry shows off his impressive magnum.  
  
JILL  
  
Get over yourself.  
  
SULLIVAN  
  
If anything happens, we'll  
  
go back to the main hall  
  
and wait up for for the other  
  
one.  
  
The three salute each other, half jokingly. Then, Barry heads back for th dining room doors, while Jill and Sullivan approacheS a set of doors across the hall.  
  
CUT TO:  
  
EXT. MANSION - DINING ROOM - NIGHT  
  
One of the double doors open and Barry enters, only to find himself staring down at the barrel of gun. Barry is frozen in shock, he recognizes the person.  
  
CUT TO:  
  
INT. CABIN - MAIN ROOM - NIGHT  
  
dried up pumpkins and other rotting vegetables are stuffed in sacks and are strewn around the one existent room. Fresh fire is burning brightly in dirty, crumbling fireplace. A few fresh candles are providing additional light. There is a bed and some more plain wood furniture, all rotting and broken.  
  
Chris looks around himself, confused. He sees a set of steps leading to an alcove and climbes up them.  
  
CUT TO:  
  
INT. CABIN - ALCOVE - NIGHT  
  
There is another bed, but this time it was improvised from sacks and wood. The sheets are old, wrinkled, and are encrusted with ancient blood, puss and vomit. A small table with a type writer is across from the bed. Chris eyes the bed with a digust and curiousity. He then approaches the type writer and finds a piece of paper wedged inside.  
  
He pulls out the paper and sees crude text typed on it: "19 daddy atached first momm atached second iNside reD and slimy whiTte and haRd not true moM where dunno dad found mum again whne atached momMy she move no more she screaming why? Jst want to b with her 4 mom where? I mis yuo"  
  
Chris, obviously disturbed by the message flips over the paper, revealing a photogrpaph, a bleaky color image from the middle of the sixties. Shown on the image is a family sitting happily on a terrace. It consists of ONE MAN, ONE WOMAN and ONE YOUNG GIRL, in her late teens. The man's face is very familiar.  
  
CHRIS  
  
George Trevor?  
  
Suddenly, front door is heard slamming shut. Chris hides the photo in his pocket and takes out his gun. Just as he cautiously begins to exit the alcove, a pair of hands, clapped in wooden stocks, slam him on the head. Chris grunts, trips and falls of the steps.  
  
CUT TO:  
  
INT. CABIN - MAIN ROOM - NIGHT  
  
Chris gets up fromt he floor, holding his head and looks at what has just hit him. It is a bizzare parody of a WOMAN. She is hunchbacked, dressed into something that used to be a silk designer night gown, now just tattered rags. Hanging off the the dress, like tails off a mink stole, are darkened scalps and peeled off faces, forever frozen in screaming grimaces. One, that of an older woman, seemed to have extremely cared for and hangs off in the center. The Woman's face is horribly disfigured and the teeth are disproportional. Except for a few hairs her, she is bald and there is ahuge eye growing out of her side, like tumor. She is covered in ebola-like sores.  
  
The things raises her imprisoned hands again, but Chris ducks just in tim and shoots her. She screams loudly, but is otherwise unharmed. Chris shoots her again. No reaction. Just then, Chris sees the extra shoots in it. The eye bursts, the Woman groans and collapses on the floor.  
  
CHRIS  
  
What the fuck was that?  
  
Suddenly, with a sickening squishing noise, a group of tentacles shoot out of the thing's spine and begins nursing the eye.  
  
CHRIS(CONT.)  
  
Holy shit.  
  
The Woman begins showing signs of life, as Chris bolts for the exit.  
  
CUT TO:  
  
EXT. WOODS - NIGHT  
  
Chris shuts the door behind him and runs down a small path through the trees. The woman's anguished, almost pathetic, moan emits out of the cottage.  
  
Chris, losing his breath, reaches a small, iron gate. He pushes them, they open easily. Chris rushes inside.  
  
CUT TO:  
  
EXT. GRAVE YARD - NIGHT  
  
It is rather miniature, with about twenty graves. Like the previus area, the cemetery is fenced off, this time by a fancy, tall iron fence.  
  
Chris stands at one end, and sees A WOMAN slowly limping towards another gate further down.  
  
CHRIS  
  
Ma'am? Ma'am are you wounded?  
  
The woman pays no attention.  
  
CHRIS(CONT.)  
  
Miss, it is all right. I'm  
  
with S.T.A.R.S., Special  
  
Tactics And Rescue Service.  
  
I'm here to help you.  
  
The Woman begins to slowly turn around. Chris begins to aproach her enthusiastically.  
  
CHRIS(CONT.)  
  
Do you know where we are?  
  
Listen, there is this  
  
cottage back there and---  
  
Chris stops dead in his tracks, wide eyed and petrified.  
  
Half of the Woman's face is gone. There is barely any muscle tissue left and the glistening skull is seen. Her shirt is ripped open adn the chest is poked with human bite marks. She opens her drooling mouth and and growling lunges at Chris, grabbing him by his vest. Chris drops his gun in surprise and begins to helplessly force the mad ghoul off himself. He manages to push her off and she falls on the ground. Chris immediately picks up his gun from the ground and aims it at the creature.  
  
CHRIS(CONT.)  
  
Don't move!  
  
The woman begins to slowly rise. Chris shoots her in the arm. The woman shows no reaction.  
  
CHRIS(CONT.)  
  
Is everyone immune to guns  
  
out here?  
  
More growling erupts from behin the fence. Still aiming his gun at the woman, which is slowly getting off the ground, Chris turns his head and fins five more hideous ghouls ont he other side of the fence,t rying to reach from him. One of them is Joseph.  
  
CHRIS(CONT.)  
  
No... Joseph not you too...  
  
The female ghoul, now up, goes after Chris again. He screams and shoots her in the head. Gray matter and blood seeps out of the head and the creature fals back into the dirt. Chris then aims his gun at the other things. They begin to claw violently at the fence, rattling it. Chris shoots the four in the head calmly and efficiently, but he can't do the same for his teammates. Joseph's corpse does not recognize Chris and is growling like an impatient animal and claws at Chris. The latter closes his eyes and fires. The bullet lands in Joseph's neck. Chris fires again. The bullet lands in Joseph's eye and he collapses down by the fence. Chris kneels down next to him.  
  
CHRIS(CONT.)  
  
Joe, I'm sorry. It's every  
  
man for himself.   
  
Reaching his hands through the fence, Chris unzips Joseph's side pack and transfers some clips into his. Chris then sees a walkie-talkie strapped onto Joseph's belt.  
  
CHRIS(CONT.)  
  
What the hell...  
  
Chris takes Joseph's walkie-talkie, presses the transmit button and begins speaking into the radio.  
  
CHRIS(CONT.)  
  
Chris to Brad. Do you copy?  
  
I'm stuck in some sort of  
  
cemetry, can't locate the  
  
others. Over.  
  
Chris releases the switch. No reply. Only static. Chris tries it again.  
  
CHRIS(CONT.)  
  
Brad? Brad, respond before  
  
I'll jam my knife in your  
  
ball sack!  
  
He waits. No answer. Just white noise.  
  
CHRIS(CONT.)  
  
Goddman it! He's too far  
  
away...  
  
Another crash of thunder, followed by lightning. The rain becomes more rapid. Chris runs for the other gates.  
  
CUT TO:  
  
INT. WOODS - NIGHT  
  
Chris exits the gates and finds himself at the foot of steep hill. There is a marble statue of a hound on each side of the gates. A set of wooden steps lead up the hill, to a metal door, around which is a wall of stone. Chris runs to the door. 


	9. PART 9

INT. MANSION - HALLWAY I - NIGHT  
  
Jill and Sullivan are walking down a brightly lit, pink wallpapered hall with rain beating peacefully ont he large windows on the right wall. There are handsome, wooden shelves on the left.  
  
SULLIVAN  
  
Jill, I'm sorry about Chris.  
  
JILL  
  
It's okay. I know he made it.  
  
SULLIVAN  
  
Jesus... I've hardly been in  
  
the east wing. The estate goes  
  
on forever.  
  
Jill looks at the shelves.  
  
JILL  
  
Oh my god...  
  
SULLIVAN  
  
Huh?  
  
He also looks at the shelves. Inside the glass casings, are strange looking bones and dried up skins, scales. Next to each sample is a small card, saying such things as MA-39 CEREBRUS - FIRST WEEK AFTER DNA ALTERATION, FI-03 NEPTUNE - FIFTH WEEK AFTER DNA ALTERATION, MA121-HUNTER - ELEVENTH WEEK AFTER DNA ALTERATION, RE09-CHIMERA - SEVENTH WEEK AFTER DNA ALTERATION.  
  
In each shelve there is also an empty spece, but the cards next to them proudly boast T-OO2 - TYRANT. ONE YEAR AFTER DNA ALTERATION.  
  
SULLIVAN  
  
Disturbing stuff. What's  
  
it for? What do those  
  
names and codes mean?  
  
JILL  
  
It looks like someone was  
  
showing off experiment  
  
results for someone else...  
  
SULLIVAN  
  
(grabbing his arm)  
  
Shit!  
  
JILL  
  
What is it?  
  
SULLIVAN  
  
It just stung for split  
  
moment.  
  
JILL  
  
Let me see.  
  
Jill rolls up his sleeve and finds a giant boil right above the bandaged area.  
  
SULLIVAN  
  
It seems like I'm going  
  
through puberty again.  
  
JILL  
  
How are you feeling?  
  
SULLIVAN  
  
Well, the arm's sore, but,  
  
you don't think that that  
  
creep infected me...  
  
JILL  
  
I don't know... There must  
  
have been some reason why  
  
he...  
  
(pauses)  
  
...Did what he did. Not to  
  
mention the way he looked  
  
like. And if this was a  
  
virus, there is a great risk  
  
that... Kenneth... I...  
  
SULLIVAN  
  
You're scared of being next  
  
to me, aren't you?  
  
JILL  
  
No. Ken, you're my teammate,  
  
I'll stick to you until the  
  
end. I am just worried about  
  
you.  
  
SULLIVAN  
  
Don't. I'm fine. It can't be  
  
virus. We are not it in some  
  
sleazy Italian splatter movie.  
  
JILL  
  
One thing about, Kenneth,  
  
you never manage to lose  
  
your sense of humor.  
  
CUT TO:  
  
INT. MANSION - HALLWAY II- NIGHT  
  
Three zombies are wondering down the dark, windowless hall. There seem to be no purpose in their movements, the hit walls, small tables, knock over a few paintings that still manage to somehow still hang on the wall. Suddenly, their heads explode consecutively. They drop dead on the floor, revealing Chris, holding up his smoking desert eagle. Chris eyes the numerous doors dotting the hallway, then sees one that is ajar. Chris slowly begins to turn the knob.  
  
CUT TO:  
  
INT. MANSION - HALLWAY III - NIGHT  
  
Chris barges into a more brightly lit, but unbelievebly cold and sterile hallway, paneled in fancy marble. There no one here. A low moan is heard. Chris aims his weapon, jumps around the corner and finds...  
  
...None other than Rebecca Chambers, blood caked, dirt with grime and with a beyond exhausted look on her face. She is sitting on the floor, cradling Richard Aiken. He is very pale, with with two huge puncture wounds in his chest.  
  
REBECCA  
  
Don't shoot!  
  
Chris lowers his weapon.  
  
CHRIS  
  
You're Chambers, right?  
  
Rebecca.  
  
REBECCA  
  
(voice trembling)  
  
Y... Yes, Sir.  
  
CHRIS  
  
Well, I'm Chris Redfield.  
  
What the hell happened here?  
  
Richard!  
  
AIKEN  
  
Chris, Get out of here! This  
  
mansion is full of demons. Go,  
  
while you still have the chance.  
  
Chris kneels down to Aiken.  
  
CHRIS  
  
Aiken, shut your mouth. You'll  
  
be fine. You always are. What  
  
happened to you?  
  
AIKEN  
  
A snake... A giant, poisonous  
  
snake. The damn thing impaled  
  
me with its fangs.  
  
REBECCA  
  
Sir, I...  
  
CHRIS  
  
Cut the sir shit.  
  
REBECCA  
  
Sorry, Si... Chris. I got  
  
here with Richard, Kenneth  
  
and Forest, but we got separated.  
  
Then I found Richard like this,  
  
it seemed that he crawled  
  
here...  
  
Rebecca chokes. Chris looks beond the two and sees a door, smeared in blood, the blood continues on the well and ends by Richard and Rebecca.  
  
CHRIS  
  
(hoplessly)  
  
Do you know where anyone else  
  
is?  
  
REBECCA  
  
No. Those things murdred  
  
Eddie and I have not seen  
  
Enrico since last night.  
  
I lost my track of the  
  
others at about dawn.  
  
CHRIS  
  
So, there is still a chance?  
  
Aiken begins to convulse and gasping.  
  
AIKEN  
  
Rebecca... Get out of this  
  
place with Chris... I won't  
  
make it... Go... With...  
  
He gasps one last time and slips into unconsciousness.  
  
CHRIS  
  
Rich?  
  
Rebecca checks Aiken's pulse.  
  
REBECCA  
  
He's okay. Just unconscious.  
  
But I don't know how long he  
  
will be that way. He needs  
  
medical attention now.  
  
CHRIS  
  
What should I do?  
  
REBECCA  
  
There's this medical room  
  
I was hiding in for a while.  
  
It took me all my courage to  
  
go and look for the others...  
  
In any case, it had some decent  
  
products there. I wanted to  
  
take Richard there, but he's  
  
too heavy.  
  
CHRIS  
  
Right.  
  
Chris calmly raises Richard by his hand, then slumps it over his shoulder. Rebecca gets up and hovers cautiously over her ailing comrade.  
  
CHRIS(CONT.)  
  
Well? What way?  
  
REBECCA  
  
Follow me.  
  
She heads towards the door that Chris entered through. He follows, huffing and grunting under Richard Aiken's weight.  
  
CUT TO:  
  
INT. MANSION - MEDICAL ROOM - NIGHT  
  
The room is small, but so far the cheeriest and most cozy. There are all the comforts of home, a bed, a chair, a cupboard filled with medical products, a lamp, etc.  
  
The door opens and Rebecca enters, followed by Chris, still helping the unconscious Aiken.  
  
REBECCA  
  
Place him on the bed.  
  
Chris heads for the bed and spreads out Richard on top of the sheets. Rebecca shuts the door and rushes to the cupboard.  
  
REBECCA(CONT.)  
  
Please have it... Yes!  
  
Rebecca grabs a small glass vial, some alcohol, cotton, and a plastic syringe.  
  
REBECCA(CONT.)  
  
Chris, hold out his arm.  
  
Chris tears the sleeve on Richard's shirt and uses the torn cloth to wrap around the latter's arm, exposing the vain. Aiken stirs and wakes up.  
  
AIKEN  
  
Becky, it burns...  
  
REBECCA  
  
Don't worry Richard, I'll  
  
give you a shot. Look, I  
  
found some serum...  
  
AIKEN  
  
I can't take it any more...  
  
the pain... Rebecca...  
  
His voice gorws weaker, suddenly, he yelps and cathces the glimpse of Rebecca removing the used syringe from his arm.  
  
AIKEN(CONT.)  
  
Does it never not hurt?  
  
CHRIS  
  
Well, obviously no.  
  
Rebecca discards the used materials into the garbage bin.  
  
REBECCA  
  
Thank god they had Saprafil.  
  
If there was any other serum,  
  
there would have been no hope.  
  
CHRIS  
  
Saprafil?  
  
REBECCA  
  
Yes, it is the best serum,  
  
really, it is manufactured  
  
by Umbrella. Most of the  
  
medicinal goods here are  
  
bearing their logo.  
  
CHRIS  
  
Well, at least we know who  
  
ever lived in this mansion  
  
was rich. That Umbrella  
  
shit is expensive. In any  
  
case, I'll go and continue  
  
my investigation. You help  
  
Richard.  
  
REBECCA  
  
Ye... Yes. I still need  
  
to treat the bite marks.  
  
Chris turns to leave.  
  
REBECCA(CONT.)  
  
Chris?  
  
CHRIS  
  
(turns around)  
  
Yeah?  
  
REBECCA  
  
Please be careful.  
  
Anguished moans are heard from the outside.  
  
CHRIS  
  
Damn it! Those sick fucks  
  
are getting restless!  
  
AIKEN  
  
(sits up)  
  
How are they getting here?  
  
Those don't seem to have  
  
any intelligence.  
  
REBECCA  
  
The doors... I've noticed  
  
that many locks were broken  
  
by someone.  
  
CHRIS  
  
Or something. Who knows  
  
how many things are in  
  
place! Okay, guys. Stay  
  
here and matter what. I  
  
will come back for the  
  
both of you once I find  
  
the others and a way out.  
  
Does anyone have a weapon?  
  
AIKEN  
  
There's a semi in my holster.  
  
CHRISExcellent.  
  
Without uttering another world, Chris calmly exits the room. 


End file.
